Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Suggested Citation:"Gallery of Illuminating and Inspirational Integrative Practices in Higher Education." National Academies of Sciences, Engineering, and Medicine. 2018. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education: Branches from the Same Tree. Washington, DC: The National Academies Press. doi: 10.17226/24988.

Below is the uncorrected machine-read text of this chapter, intended to provide our own search engines and external engines with highly rich, chapter-representative searchable text of each book. Because it is UNCORRECTED material, please consider the following text as a useful but insufficient proxy for the authoritative book pages.

Gallery of Illuminating and Inspirational
Integrative Practices in Higher Education
The following cases (and other examples embedded throughout this
report) are representative samples of a wide range of possible outcomes
from integrative artistic practicesÂ that are connected to higher education,
including programs, courses, and collaborations.Â Although not an exhaus-
tive list, they reflectÂ diverse approaches and applicationsÂ to integration,Â and
the various modes and pathwaysÂ that different disciplines can use to inform
one another to produce a myriad of results, outcomes, synergistic impacts,
and localized, as well as far-reaching, potential benefits.Â Examples include
a range of research projects, performative- and exhibition-based work,
curricular and co-curricular endeavors, and community-engaged projects.
Categories include citizen science, science communication and engaged
research; therapeutic interventions and storytelling to inform innovation,
healing, and discovery; exhibition and installation; venture creation; and
aesthetic, as well as scientific explorations in the lab, with new media, and
through traditional, as well as nontraditional, performance venue environ-
ments. These examples are from U.S.-based projects and are affiliated with
academic institutionsÂ demonstrating curricular, co-curricular, and research-
based integrative models and pathways (see Compendium of Programs and
Courses on the Integration of Humanities, Arts, and STEMM at nap.edu).
The committee maintains that the impact of certain forms of knowledge
creation cannot be sufficiently described in words or numbers.
Some of these examples are drawn from work compiled by:
SEADÂ at https://seadexemplars.org/
SEAD steering group: Roger Malina, Carol Strohecker, Robert Thill, Nicola
Triscott, Robert Root-Bernstein, Carol LaFayette, and Alex Garcia Topete.
And XSEADÂ at http://xsead.cmu.edu/Â
Thanssis RikakisÂ (Principal Investigator, Vice Provost for Design, Arts and
Technology + School of Design),Â Aisling KelliherÂ (Senior Personnel, School
of Design), andÂ Daragh ByrneÂ (Lead Developer, School of Design)
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KINETROPE: CREATING CROSS-DISCIPLINARY SPACES TO
PROMOTE DISCOVERIES AND CHANGED PERSPECTIVES
Project name: Kinetrope (2015)
Created by: Timothy Wood (Ph.D. Student, transLAB, Media Arts and
Technology, University of California, Santa Barbara)
The transLAB (The Transvergent Research Group) is a research facility
whose mission is to investigate how technology alters the relation between
actual, transactivated, and virtual space in art and science by bringing
together diverse expertise to investigate areas such as worldmaking, trans-
modality, computational composition, algorithmic aesthetics, n-dimensional
space, space as interface, and more. For example, Kinetrope is a plant-like
life form born in virtual space that grows toward the motion of another.
In reality there are many types of tropisms that give plants the impulse to
grow and to be shaped in specific and unique ways. Through the creation
of this specific growth algorithm and a new type of tropism, the possibilities
of relationships and choreographies across boundaries becomes possible.
Timothy Wood (fishuyo@mat.ucsb.edu)
Project website: http://fishuyo.com/projects/kinetrope/transLAB website:
http://translab.mat.ucsb.edu
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PERFORMANCE AS PLATFORM FOR BUILDING
BRIDGES BETWEEN DISCIPLINES
Hypermusic Prologue: A Projective Opera in Seven PlanesÂ
Lisa Randall (Harvard University) and Hector Parra (composer)
SOURCE: https://seadexemplars.org/portfolio_page/hypermusic/
Hypermusic is a project that demonstrates how music and storytelling
can come together to facilitate a better understanding of science. The
multi-dimensional opera brings together music, performances, and story to
represent a new model of space-time based on contemporary research and
theory. This opera was designed to disseminate the basic principles of Pro-
fessor Lisa Randallâs space-time model among the physics community and
the artistic world. According to the SEAD website, âthe intent of HyperÂ­
music was to make a new scientific conceptâa new space-time modelâ
more understandable for fellow physicists and other scientists while also
experimenting with the music and storytelling.â
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IMAGINING A BETTER FUTURE THROUGH CREATIVE WRITING
Hieroglyph: Stories and Visions for a Better Future
Illustration for the story âJohnny Appledrone vs. the FAA,â in Hieroglyph:
Stories and Visions for a Better Future. Edited by Ed Finn (Arizona State
University) and Kathryn Cramer (writer).
Illustration by: Haylee Bolinger (https://www.hayleebolinger.com)
SOURCE: https://seadexemplars.org/portfolio_page/hieroglyph/
Hieroglyph is a project of Arizona State Universityâs Center for Science and
the Imagination that curates the innovative work of writers and researchers,
Â­
bringing together top science fiction authors with scientists, engineers, and
other experts to collaborate on futuristic visions grounded in real insights
from science, technology, and a wide range of other disciplines. According
to Project Hieroglyphâs website (http://hieroglyph.asu.edu), âcertain iconic
inventions in science fiction stories serve as modern hieroglyphs.â Hiero-
glyphâs first anthology, Hieroglyph: Stories and Visions for a Better Future,
features 17 original stories born from these collaborations, demonstrating
how art and storytelling can rekindle our grand ambitions for the future.
The book includes innovative proposals such as 3D printing in space, an
alternative internet powered by drones, solar cities designed to mimic algae
cells, and more. The book sparked a national conversation throughout
news outlets about the role that science fiction plays in igniting the publicâs
imagination and bridging our present with the future. This project has
served as a model for futurism and its power to shape innovation.
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CULTURAL DISPLAY OF THE INTEGRATION
OF ART AND SCIENCE
Blue Morph
Victoria Vesna (University of California, Los Angles); James K. Gimzewski
(University of California, Los Angles)
SOURCE: http://artsci.ucla.edu/BlueMorph
BLUE MORPHÂ is an interactive installation that uses nanoscale images and
sounds derived from the metamorphosis of a caterpillar into a butterfly.
According to the artistâs website, âNanotechnology is changing our percep-
tion of life and this is symbolic in the Blue Morpho butterfly with the optics
involvedÂ­ that beautiful blue color is not pigment at all but patterns and
â
structure which is what nano-photonics is centered on studying. The lamel-
late structure of their wing scales has been studied as a model in the devel-
opment of fabrics, dye-free paints, and anti-counterfeit technology such
as that used in monetary currency.â Victoria Vesna is the Director of the
Art|Sci center at the School of the Arts and California Nanosystems Insti-
tute (CNSI). James Gimzewski is a Distinguished Professor of Chemistry at
the University of California, Los Angeles and Director of the Nano & Pico
Characterization Core Facility of the California NanoSystems Institute.
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CREATION OF SOLUTIONS THAT IMPROVE LIVES
AND CREATES NEW INDUSTRY MODELS
Limbitless Solutions
Albert Manero, President (University of Central Florida)
Annika Emmert using Limbitless Solutionsâ flower arm.
Limbitless Solutions is a nonprofit organization that uses 3D printing to
create personalized bionics and affordable prosthetics. The organization
grew out of work that the founding team members did as students at the
University of Central Florida. According to groupâs website, the organi-
zation is âdevoted to building a generation of innovators who use their
skills and passion to improve the world around them. . . . We believe that
no family should have to pay for their child to receive an arm. Now we
want to lead by example and encourage communities to innovate with
compassion.â
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CREATING RESEARCH FACILITIES THAT ARE
IMMERSIVE AND TRANSDISCIPLINARY
AlloSphere
Dr. JoAnn Kuchera-Morin
Director, AlloSphere Research Group
Professor, Media Arts and Technology
Professor, Music
University of California, Santa Barbara
This image shows researchers controlling parameters of real-time visualiza-
tion of a hydrogen-like atom on the AlloSphere bridge. The AlloSphere, a
30-foot diameter sphere built inside a three-story near-to-anechoic (echo
free) cube, facilitates research collaborations in an environment that can
simulate reality. The AlloSphere allows use of multiple modalities to repre-
sent large and complex data, incluing immersive visualization, sonification,
and interactivity. According to the AloSphere website, âWe are creating
technology that will enable experts to use their intuition and experience to
examine and interact with complex data to identify patterns, suggest and
test theories in an integrated loop of discovery. Important research areas
include quantum information processing and structural materials discovery,
bioengineering and biogenerative applications, and arts and entertainment.â
Dr. Kuchera-Morin serves as the Director of the AlloSphere Research Facil-
ity at the University of California, Santa Barbara.
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CREATING ROBOTIC AND PLANT LIFE INTERFACES
The IndaPlant Project: An Act of Trans-Species Giving
Elizabeth Demaray (Rutgers); Qingze Zou (Rutgers); Simeon Kotchoni
(Rutgers); and Ahmed Elgammal (Rutgers)
SOURCE: https://seadexemplars.org/portfolio_page/indaplant-project/
The IndaPlant Project is designed to facilitate the free movement and
metabolic function of ordinary houseplants. It merges plants and robots
in a way that creates an automated environment focused on the nurture of
the plants. IndaPlant required adapting innovations from computer science
and robotics in order to decode the plant-generated bio-information, and
model solutions that allowed the plant-robots to seek sunlight and water.
The floraborg (a term to describe an entity that is part plant and part
robot) could allow for automated biodomes that would benefit plants and
humans. Addressing the super sensory capacities of plants, this interface
allows humans to decipher plant-based information on ecosystem health,
the effects of climate change, and air pollution.
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PIONEERING INTEGRATION AND THE
CREATION OF NEW INDUSTRIES
Ordo 211
Charles Csuri (Ohio State University)
Charles Csuri is an artist who has pioneered new technologies that have
led to the creation of new industries. Csuriâs pioneer research in computer
graphics and animation has not only been applied to flight simulators,
computer-aided design, visualization of scientific phenomena, magnetic
resonance imaging, education for the deaf, architecture, and special effects
for television and films, but also helped establish leading educational pro-
grams that trained the new professionals. His former students have worked
for Industrial Light and Magic, Pacific Data Images, Metro Light, Pixar,
Rezn8, Silicon Graphics Inc., USA Today, Rhythm and Hues, Xaos, Walt
Disney Productions, and others.
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COLLABORATION AND AESTHETICS
Gemini (Permanent Collection at SFMOMA)
By Neri Oxman (MIT Media Lab)
In collaboration with Stratasys and Prof. W. Craig Carter (Department of
Materials Science and Engineering, MIT)
Paris, 2014
Photo: Michel Figuet
The design of Geminiâan acoustical âtwin chaiseâââincludes a number
of length scales ranging from structure to material composition that affect
its sound absorbing properties: (1) On the meter scale, the chaise forms a
semi-closed anechoic-like chamber with curved surfaces that tend to reflect
sound inward. The surface structure scatters the sound and absorbs it and,
in the absence of large planar surfaces, reduces the amount of sound that
would otherwise bounce back to the source; (2) On the centimeter scaleâ
a scale that corresponds to the wavelength of soundâthe 3D printed
inner âskinâ is designed as 3-dimentional doubly curved cells that scatter
and absorb sound effectively given their geometry (i.e. the sound tends to
bounce from one âcellâ unit to another till it gets absorbed) and high surface
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area to volume ratios. The features of the chaise are on the order of the
wavelength of sound and they therefore interact strongly with sound and
get absorbed effectively; (3) On the nano-scale, the properties of the Digital
Materials also contribute to the absorption of sound. These materials are
elastic in nature, varying in durometer (and sound absorption) as a func-
tion of curvature. Surface areas that are more curved than others are also
assigned more elastic properties, thereby increasing absorption around local
chambers,â according to Oxmanâs Material Ecology website (http://www.
materialecology.com/).
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EXPLORING THE INTERCONNECTIONS
BETWEEN BIOLOGY AND SOCIOLOGY
Ape Cinema
Rachel Mayeri (Harvey Mudd College)
SOURCE: https://seadexemplars.org/portfolio_page/ape-cinema/
Ape Cinema utilizes how common human practices can become means
to explore other fields. The project consists of an original movie made
expressly for a chimpanzee audience, who seem to be watching the same
things as human primates: dramas around food, territory, social status, and
sex. The project creates a prism for human beings to learn more about the
complex social, cognitive, and emotional lives of chimpanzees by watching
a movie through chimpsâ eyes.
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ANIMATING RESEARCH AND ACTIVATING
SPACES OF KNOWLEDGE PRODUCTION
As part of Liz Lermanâs Animating Research class, students lead a partici-
patory moment during a performance at the Biodesign Institute at Arizona
State University (2017)
Credit: Deanna Dent/ASU Now
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Performer Matt Mahaney in Liz Lermanâs evening-length work Ferocious
Beauty: Genome (2006).
Credit: Kevin Kennefick
Choreographer, MacArthur Fellow, and Institute Professor at Arizona State
University (ASU), Liz Lerman created her âAnimating Researchâ course to
combine contemporary movement, dance, theater, and science into mul-
timedia, immersive experiences for audiences and performers: a dozen
artists were paired with molecular virologists, evolutionary biologists, and
engineers to create mini-performances using and exploring ASUâs biodesign
building space. Lerman developed her process over decades of creative
research through multidisciplinary works including her âscience trilogyâ:
Healing Wars (2014); The Matter of Origins (2011, with support from
the National Science Foundation); and Ferocious Beauty: Genome (2006),
created in collaboration with dozens of geneticists and educators, explor-
ing how knowledge of the genome changes the way we think about aging,
perfection, ancestry, and evolution.
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Matthew Shlian is an artist and designer working in paper using the tradi-
tions of origami, kirigami, and paper engineering to transform flat materi-
als into 3D sculptures. Shlian, in collaboration with Max Shtein, material
scientist and engineer at the University of Michigan, Ann Arbor, began
exploring the question, âCan we make solar cells more efficient by using
paper folding and cutting techniques?âÂ The limitation of stationary solar
panels is that they are only at maximum efficiency for a limited amount of
time during the day. Normal solar tracking mechanisms are prohibitively
bulky, heavy, and expensive for use on rooftops. Working together with
the Stephen Forrest Group (an electrical engineer, also at the University
of Michigan) and graduate students Aaron Lamoureux and Kyusang Lee,
they developed solar cells made from thin-film crystalline gallium arsenide
bonded to thin foils. The foils were then laser-cut into patterns inspired by
kirigami,Â which allowed them to adjustÂ the angle of the solar cells simply by
stretching the kirigami sheet. As a result, exposure to the sun is maximized
and electricity production is boosted significantly.
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FOSTERING CREATIVE PROCESSES TO ADVANCE
EXPLORATION AND EXPRESSION
Tornado Project
The Cube
Bill Carstensen, David Carroll, Drew Ellis, Peter Sforza
Virginia Tech
Utilizing the technology made available at The Cube at Virginia Tech,
the team created a 3D meteorological immersive experience of a tornado.
According to the website, âThe full scientific potential of radar data is not
normally realized simply because current radar visualization is rather basic
âtypically on a flat screen on which, at best, static 3-D representations
are rendered.â The Cube is a four-story-high, state-of-the-art theatre and
high-tech laboratory that serves multiple platforms of creative practice by
faculty, students, and national and international guest artists and research-
ers. The Cube is a highly adaptable space for research and experimentation
in big data exploration, immersive environments, intimate performances,
audio and visual installations, and experiential investigations of all types.
This facility is shared between ICAT and the Center for the Arts at Virginia
Tech.
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CROSS-DISCIPLINARY COLLABORATION
FOR COMMUNITY IMPACT
The Rain Project
Changwoo Ahn (George Mason University) EcoScience+Art
Photo by Evan Cantwell/Creative Services/George Mason University
SOURCE: https://www.changwooahn.com/ecoscience--art
EcoScience+Art is an initiative and collaboration between the arts and
sciences at George Mason University with a mission to bring together indi-
viduals working across the boundaries of ecosystem science, art, and design
fields to share knowledge, expertise, and strategies for creatively engaging
in the common pursuit of a sustainable future. The Rain Project is a floating
treatment wetland on Mason Pond. Students participate in a project-based
learning approach aimed at developing innovative interdisciplinary educa-
tion and scholarship. The goal is to raise awareness of critical stormwater
issues for the Mason community, by means of a year-long project (Fall
2014 through Fall 2015) in which science collaborates with engineering,
arts, and humanities in order to design and implement a floating wetland
in Mason Pond.
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INVESTIGATING BIOLOGICAL SCIENCES AND DIGITAL
TECHNOLOGIES THROUGH ARCHITECTURAL INSTALLATIONS
The Very Loud Chamber Orchestra of Endangered Species
Pinar Yoldas
SOURCE: https://stamps.umich.edu/creative-work/stories/pinar-yoldas
Pinar Yoldas is a Turkish artist and scholar who works with the medium of
speculative biology. InÂ The Very Loud Chamber Orchestra of Endangered
Species, she addresses the impact ofÂ anthropogenicÂ forcesÂ on non-human
animals. She takes skulls from endangered species and outfits them with
tubes that push air through the skulls. In so doing, she works with the
acoustics of their bone architecture, creating an orchestral arrangement of
sounds. She writes, âBy literally giving a VOICE to those whose habitats
and lives are jeopardized by human activities, the project will initiate a
subliminal emotional dialogue between viewers and the life forms that they
often overlook. In essence, this project is an audible attempt to restore the
dignity of other organisms that inhabit this planet and is an aesthetic ampli-
fier of the negative consequences of our cultural choices. Alternatively, this
project can be understood as a memento mori for those whose existence has
been threatened, and a roaring wake-up call to the human race.â
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SOURCE: http://xsead.cmu.edu/works/115; http://www.miriamsimun.com/
ghostfood/
Ghost Food is a mobile food truck that puts together sense and food
pairings using a wearable device that helps engage smell. Scents of foods
threatened by climate change are paired with foods made from climate
change-resilient foodstuffs, to provide the taste illusions of foods that may
soon no longer be available. Ghost Food staff serve the public, guiding
visitors through this pre-nostalgic experience and engaging dialogue. Ghost
Food has been deployed in Newark and Philadelphia thus far.
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EXPLORING SOCIAL DISCRIMINATION THROUGH
INTERACTIVE NARRATIVE AND GAMING TECHNOLOGY
Mimesis
D. Fox Harrell (Massachusetts Institute of Technology)
Video game technology and the creation of educational programs that
utilize it is on the rise. This work by D. Fox Harrell at MIT is created to
explore the idea that social networks and video game components can be
used to help people better understand and create empathy, deliver mean-
ingful experiences and enable critical reflection on identity. According to
the Mimesis website, âThe story of Mimesis takes place in an underwater
setting with subtly anthropomorphized sea creatures as characters. The
player character is a mimic octopus, which is a species of octopus adept at
emulating other creatures. The octopus is on a journey that takes it from
the dark depths of the ocean to its home in the tropical shallows. Along
her way, the octopus will encounter several sea creatures who inhabit the
waters and whose actions serve as examples of particular kinds of covert
discrimination. These sea creatures provoke the octopus, leaving the player
to must choose between different emotional responses to the creatures in
order to guide the octopus through a series of short conversations. In this
way, the project maps the experience of discrimination onto gameworld
based on an underwater metaphor.â
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CRATERS stands for Collaboration Research, Art Technology, Engineer-
ing, Robitics and Skateboarding. The Gallaudet CRATERs: Finding a Line
Bowl was initially built by Dave Mutarelli (Lifetime Decks LLC) and Ben
Ashworth (Sculpture Faculty at George Mason University) as commissioned
by the Kennedy Center for Performing Arts. The Kennedy Centerâs âFinding
a Lineâ event was led by its VP for Community Engagement, Garth Ross,
who hosted a number of professional skateboarders, musicians, artists,
and the public to skate and create together in the Centerâs front yard. After
the event, the Kennedy Center donated the bowl to Gallaudet University
in order to serve the creative, academic, and collaborative initiatives that
began with a Special Topics course designed and taught by Gallaudet Asso-
ciate Professor Max Kazemzadehâs titled âSkateboarding, Tracking & Data
Visualization.â The integrative course is supported by a NASA Space Grant
initiated by Gallaudet Chemistry & Physics Professor Dr. Dave Snyder.
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SCIENCE PRACTICE AND TOOLS IN ART SCHOOLS
Vanitas (in a Petri dish)/Remote Sensing
Suzanne Anker (School of Visual Arts, NYC)
The Bio Art Lab is a fully functioning science lab housed within an art
school. It was founded in 2011 as part of the School of Visual Artsâ BFA
Fine Arts facility in Chelsea, NYC.Â The Lab was founded and is directed
by Suzanne Anker, Chair of the BFA Fine Arts Department. Conceived as
a place where scientific tools and techniques become tools and techniques
in art practice, the Lab provides a space for artists to investigate aspects of
the biological sciences such as evolution, artificial life, and robotics through
digital sculpture and new media installations.
PREPUBLICATION COPYâUncorrected Proofs

In the United States, broad study in an array of different disciplines —arts, humanities, science, mathematics, engineering— as well as an in-depth study within a special area of interest, have been defining characteristics of a higher education. But over time, in-depth study in a major discipline has come to dominate the curricula at many institutions. This evolution of the curriculum has been driven, in part, by increasing specialization in the academic disciplines. There is little doubt that disciplinary specialization has helped produce many of the achievement of the past century. Researchers in all academic disciplines have been able to delve more deeply into their areas of expertise, grappling with ever more specialized and fundamental problems.

Yet today, many leaders, scholars, parents, and students are asking whether higher education has moved too far from its integrative tradition towards an approach heavily rooted in disciplinary “silos”. These “silos” represent what many see as an artificial separation of academic disciplines. This study reflects a growing concern that the approach to higher education that favors disciplinary specialization is poorly calibrated to the challenges and opportunities of our time.

The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education examines the evidence behind the assertion that educational programs that mutually integrate learning experiences in the humanities and arts with science, technology, engineering, mathematics, and medicine (STEMM) lead to improved educational and career outcomes for undergraduate and graduate students. It explores evidence regarding the value of integrating more STEMM curricula and labs into the academic programs of students majoring in the humanities and arts and evidence regarding the value of integrating curricula and experiences in the arts and humanities into college and university STEMM education programs.

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